To be held in Albuquerque, NM, February 8-11, 2006.Further details (listing of all areas, hotel, registration, tours, etc.)available at http://www.h-net.org/~swpca/

Seeking papers addressing the representation and/or construction of"imaginary homelands" in global film, television, or digital culture. Howhave electronic media participated in the construction of such "homelands"in the age of globalization? What functions do such images of the "homeland"serve within the contemporary geopolitical context? Of particular interestare cross-cultural interpretations of recent US constructions of the"homeland" (as in the new designation "homeland security" and PresidentBush's projection of a unified but terrorized American "homeland"). How issuch rhetoric about the US homeland received abroad or by migrantcommunities internal to the nation? And so on.

Essays may focus on textual analysis, genre study, reception study, oranalysis of media industry discourse. Send proposals of 100-200 words viaemail to Stacy Takacs (takacs_at_okstate.edu ) by Nov. 7, 2005.------------------------------The Media and Globalization Area of the Southwest Texas PCA recognizes thecentrality of electronic communications technologies to the processes ofglobal interconnection that have been transforming our world of late andseeks to understand the electronic media's specific modes of participationin these processes. We are seeking papers addressing a wide array of mediapractices and phenomena as they related to issues of globalization. Othersuggests include:

*Cross-Cultural Media Exchanges (Japanese Cartoons on US TV, for example, orUS sitcoms shown abroad, etc.)*Cognitive mappings of the global order in TV, Film, or Computer Media*Satellite television and the imagination of a global audience*Global news coverage (US and non-US treatments of 9/11, Afghanistan, Iraq,Israel/Palestine, etc.)*New Global Forms of Entertainment Programming/Delivery*The impact of technological convergence on the global culture industries*Post-Fordist practices in production, management, or distribution(Co-productions in the film industry, for example)*Changes in the composition of the audience/market for cultural content*The formation of a global "creative class" (or other effects on labor)*Historical treatments that complicate arguments about the ³newness² ofglobalization*Etc.

Stacy TakacsAssistant Professor of American StudiesOklahoma State University700 North Greenwood Ave.Tulsa Ok 74106-0700918-594-8331takacs_at_okstate.edu